A dominant tone in many of the most talked-about films at this year’s Cannes is one of social realism. From the Dardenne brothers’ “Silence of Lorna” to Walter Selles’ “Linha de Passa” (shot in Brazilian slums), there is a strong touch of social realism. This was also true even in one of the mainstays of popular cinema: the gangster flick. Matteo Garrone’s “Gomorra” takes a hard look at the Neapolitan crime syndicate, using Roberto Saviano’s book as the source material. Saviano is under police protection.
As usual, however, the queues outside the Palais looking for invitations were all for Indiana Jones and Clint Eastwood’s “The Changeling”.